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Allan Sekula (1951-2013) was an influential artist, writer, and teacher. His works, including books, photographic sequences, written texts, slide sequences, and sound recordings, are among the most moving and incisive critiques of global capital from the latter half of the twentieth century. In 2001, he turned to digital video as yet another means to make art that critically engages the world. Los Angeles Filmforum is proud to present two programs of Sekula's work in video this week in tribute.

On this second night, we screen his last film, The Forgotten Space. The sea is forgotten until disaster strikes. But perhaps the biggest seagoing disaster is the global supply chain, which maybe in a more fundamental way than financial speculation leads the world economy to the abyss. In The Forgotten Space, Sekula and Noël Burch tackle the largest of topics the ocean and the world.

Introduced by Edward Dimendberg, Professor of Film and Media Studies, Visual Studies, and European Languages and Studies at UC Irvine. He is the author of Film Noir and the Spaces of Modernity (Harvard University Press, 2004) and Diller Scofidio + Renfro: Architecture after Images (University of Chicago Press, 2013) and the co-editor (with Anton Kaes and Martin Jay) of The Weimar Republic Sourcebook (University of California Press, 1994).

The Forgotten Space follows container cargo aboard ships, barges, trains and trucks, listening to workers, engineers, planners, politicians, and those marginalized by the global transport system. We visit displaced farmers and villagers in Holland and Belgium, underpaid truck drivers in Los Angeles, seafarers aboard mega-ships shuttling between Asia and Europe, and factory workers in China, whose low wages are the fragile key to the whole puzzle. And in Bilbao, we discover the most sophisticated expression of the belief that the maritime economy, and the sea itself, is somehow obsolete.

A range of materials is used: descriptive documentary, interviews, archive stills and footage, clips from old movies. The result is an essayistic, visual documentary about one of the most important processes that affects us today. The Forgotten Space is based on Sekula's Fish Story, seeking to understand and describe the contemporary maritime world in relation to the complex symbolic legacy of the sea.Trailer: http://www.theforgottenspace.net/static/trailer.html

Allan Sekula Photographer, FilmmakerSince the early 1970s, Allan Sekula's (Erie, Pennsylvania 1951) works with photographic sequences, written texts, slide shows and sound recordings have traveled a path close to cinema, sometimes referring to specific films. However, with the exception of a few video works from the early 70s and early 80s, he has stayed away from the moving image. This changed in 2001, with the first work that Sekula was willing to call a film, Tsukiji, a "city symphony" set in Tokyo's giant fish market.Sekula's books include Photography against the Grain (1984), Fish Story (1995), Dismal Science (1999), Performance under Working Conditions (2003), Titanic's Wake (2003), and Polonia and Other Fables (2009).These works range from the theory and history of photography to studies of family life in the grip of the military industrial complex, and in Fish Story, to explorations of the world maritime economy. The Forgotten Space is a filmic sequel to Fish Story. Sekula passed away on August 10, 2013.An interview with Allan Sekula by Edward Dimendberg:http://bombsite.com/issues/92/articles/2754

Noel Burch Filmmaker, AuthorBorn in the USA (San Francisco) in 1932, Noël Burch has been living in France since 1951. He graduated from the Institut Des Hautes Etudes Cinèmatographiques in 1954. While primarily known for his theoretical writings, he has always positioned himself as a filmmaker and has directed over twenty titles, mostly documentaries.Burch has been publishing since the 1960s. Among his numerous publications are his first and best known book Theory of Film Practice (New York: Praeger, 1973) and To the Distant Observer: Form and Meaning in Japanese Cinema (Berkeley, 1979), which remains the most robust history of Japanese cinema written by a Westerner.From 1967 to 1972, he collaborated with Janine Bazin and Andrè S. Labarthe for the celebrated series, Cinèastes de Notre Temps, and directed seven programs which are considered to have renewed the "film-maker portrait" in the heroic years of French public television. It was during that same period that Burch was co-founder and director of the Institut de Formation Cinèmatographique, an alternative film school associating theory and practice.

Notes for a Filmby Allan Sekula & Noël Burch

Our film is about globalization and the sea, the "forgotten space" of our modernity.First and foremost, globalization is the penetration of the multinational corporate economy into every nook and cranny of human life. It is the latest incarnation of an imperative that has long been accepted as vital necessity, even before economics could claim the status of a science. The first law of proto-capitalism: markets must multiply through foreign trade or they will stagnate and die. As the most sophisticated of the 17th century defenders of mercantilism, William Petty, put it: "There is much more to be gained by Manufacture than Husbandry, and by Merchandize than Manufacture. A Seaman is in effect three Husbandmen." (Political Arithmetick, 1690).The contemporary vision of an integrated, globalized, self-regulating capitalist world economy can be traced back to some of these axioms of the capitalist "spirit of adventure." And yet what is largely missing from the current picture is any sense of material resistance to the expansion of the market imperative. Investment flows intangibly, through the ether, as if by magic. Money begets money. Wealth is weightless. Sea trade, when it is remembered at all, is a relic of an older and obsolete economy, a world of decrepitude, rust, and creaking cables, of the slow movement of heavy things. If Petty's old fable held that a seafarer was worth three peasants, neither count for much in the even more fabulous new equation. And yet we would all die without the toil of farmers and seafarers.Those of us who travel by air, or who "go surfing" on the Web, scarcely think of the sea as a space of transport any more. We live instead in the age of cyberspace, of instantaneous electronic contact between everywhere and everywhere else.In this fantasy world the very concept of distance is abolished. More than 90% of the world's cargo moves by sea, and yet educated people in the developed world believe that material goods travel as they do, by air, and that money, traveling in the blink of an eye, is the abstract source of all wealth.Our premise is that the sea remains the crucial space of globalization. Nowhere else is the disorientation, violence, and alienation of contemporary capitalism more manifest, but this truth is not self-evident, and must be approached as a puzzle, or mystery, a problem to be solved.The factory system is no longer concentrated in the developed world but has become mobile and dispersed. As ships become more like buildings, the giant floating warehouses of the "just-in-time" system of distribution, factories begin to resemble ships, stealing away stealthily in the night, restlessly searching for ever cheaper labor. A garment factory in Los Angeles or Hong Kong closes, the work benches and sewing machines reappear in the suburbs of Guangzhou or Dacca. In the automobile industry, for example, the function of the ship is akin to that of conveyor systems within the old integrated car factory: parts span the world on their journey to the final assembly line.The function of sea trade is no longer a separate, mercantilist enterprise, but has become an integral component of the world-industrial system. We are distracted from the full implications of this insight by two powerful myths, which stifle curiosity. The first myth is that the sea nothing more than a residual mercantilist space, a reservoir of cultural and economic anachronisms. The second myth is that we live in a post-industrial society, that cybernetic systems and the service economy have radically marginalized the "old economy" of heavy material fabrication and processing . Thus the fiction of obsolescence mobilizes vast reserves of sentimental longing for things which are not really dead.Our response to these myths is that the sea is the key to understanding globalized industrialism. Without a thoroughly modern and sophisticated "revolution" in ocean-going cargo-handling technology, the global factory would not exist, and globalization would not be a burning issue.What began in the mid-1950s as a modest American improvement in cargo logistics, an effort to achieve new efficiencies within a particular industry, has now taken on world historic importance. The cargo container, a standardized metal box, capable of being quickly transferred from ship to highway lorry to railroad train, has radically transformed the space and time of port cities and ocean passages.There have been enormous increases in economies of scale. Older transport links, such as the Panama Canal, slide toward obsolescence as ships become more and more gargantuan. Super-ports, pushed far out from the metropolitan center, require vast level tracts for the storage and sorting of containers. The old sheltering deepwater port, with its steep hillsides and its panoramic vistas, is less suited to these new spatial demands than low delta planes that must nonetheless be continually dredged to allow safe passage for the deeper and deeper draft of the new super-ships.Ships are loaded and unloaded in as little as twelve hours, compared to the laborious cargo storage practices of fifty years ago. The old waterfront culture of sailor bars, flophouses, brothels, and ship chandlers gives way either to a depopulated terrain vague or blessed with the energies of real-estate speculators to a new artificial maritime space of theme restaurants, aestheticized nautical relics and expensive ocean-view condominiums. As the class character of the port cities changes, the memory of mutiny and rebellion, of intense class struggle by dockers, seafarers, fishermen, and shipyard workers-struggles that were fundamental to the formation of the institutions of social democracy and free trade-unionism-fades from public awareness. What tourist in today's Amsterdam is drawn to the old monument commemorating dock-workers' heroic but futile strike to prevent the Nazi deportation of the Dutch Jews?If the cargo container represents one instrument of maritime transformation, the companion instrument is not logistical but legal. This is the flag of convenience system of ship registry. Here again, the Americans were in the lead, seeking to break powerful maritime unions in the wake of the second world war. If globalization is understood by many in the world today as Americanization , the maritime world gives us, then, these two examples of the revolutionary and often brutal ingenuity of American business practices. The flag of convenience system allows for ships owned in rich countries to be registered in poor countries. It was created to obscure legal responsibility for safety and fair labor practices. Today's seafaring crews are drawn for the old and new Third Worlds: Filipinos, Chinese, Indonesians, Ukranians, Russians. The conditions they endure are not unlike those experienced by the lascars of the 18th century.A consequence of the global production-distribution system is that links between port and hinterland become all the more important. It is not just the port that is transformed, but the highway and rail system, the very transport infrastructure of a country or a continent, as evidenced by the Betuwe line in Holland or the dangerous saturation of truck traffic in Alpine tunnels.The boxes are everywhere, mobile and anonymous, their contents hidden from view. One could say that these containers are "coffins of remote labor-power" carrying goods manufactured somewhere else, by invisible workers on the other side of the globe. We are told by the apologists of globalization that this accelerated flow is indispensable for our continued prosperity and for the deferred future prosperity of those who labor so far away. But perhaps, this is a case for Pandora, or for her more clairvoyant sister, Cassandra.Our film moves between four port cities: Bilbao, Rotterdam, Los Angeles, and Hong Kong. It visits the industrial hinterland in south China, and the transport hinterland in the heart of Holland. Of the four port cities, three can be classed as "super-ports," the largest in the world. Here we encounter functional hypertrophy. Bilbao, a fading port with a brave maritime history, has become the site of radical symbolic transformation of derelict maritime space. In Bilbao, functional atrophy coexists with symbolic hypertrophy, a delirium of neo-baroque maritime nostalgia wedded to the equally delirious promise of the "new economy." - Los Angeles, July 2010---------------This program is supported by the Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission; the Department of Cultural Affairs, City of Los Angeles; and the Mike Kelley Foundation for the Arts. Additional support generously provided by American Cinematheque. We also depend on our members, ticket buyers, and individual donors.

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